Kirnberger Symphoes: World Premiere Recordings "His early acquaintance with the great school of Sebastian Bach, as well as his perspicacity, which enabled him to discover at an early stage the depth and incalculable richness in the works of this great master, unfathomable to so many others, and which had endeared him to this school, an institution which also demanded high precision and refinement in it's practice, something far more difficult to achieve than the glittering lustre of more recently founded schools, as well as for the harmonic part of the art, which it's master fathomed and exhausted as no one before him had ever done, all the more passionately and exclusively, since nature seemed to have denied him the delicate feeling for melodic beauty." - AMZ III, December 1800, p. 506

All of the recordings of Reinhard Goebel's project "Beethoven's World" have received great attention and excellent reviews worldwide. For the first album with violin concertos by Franz Clement, the Welt am Sonntag wrote: "If the discovery of Beethoven contemporaries, which Goebel has just signed up for the Beethoven Year, continues in this way, it will be a fine year". For the second album with double cello concertos by Reicha and Romberg, Deutschlandfunk wrote: "This recording (...) sets new standards." Great reviews for the third album with works by Salieri, Hummel and Vorisek followed: "An outstanding contribution to the Beethoven Year: With his alternative Beethoven Project, Reinhard Goebel once again impressively proves that there was even more to hear in Vienna at the time than Mozart piano concertos and Beethoven symphonies."

The fourth album of this celebrated series continues the musical foray into the Vienna of the early 19th century with extraordinary rarities from Beethoven's contemporaries. Recorded with the excellent piano duo Tal & Groethuysen and the Frankfurt Radio Symphony, the album features the Concerto for Two Pianos by Anton Eberl (1765-1807) and the Concerto for Two Pianos by Jan Ladislav Dussek (1760-1812). The album also presents the world premiere recording of Joseph von Eybler's (1765-1846) “La Follia di Spagna” with all Instruments after the Violin Sonata, op. 5 no. 12 “La Follia” by Arcangelo Corelli. Goebel also includes a rarity by Ludwig van Beethoven (1770-1827) to the program: Gratulations-Menuett for Orchestra in E-flat Major, WoO 3. The recording proves once again that there was far more to hear for Vienna music lovers than piano concertos by Mozart or symphonies by Beethoven.

The recordings of Reinhard Goebel's project "Beethoven's World" have received great attention and excellent reviews worldwide. For the first album with violin concertos by Franz Clement, the Welt am Sonntag wrote: "If the discovery of Beethoven contemporaries, which Goebel has just signed up for the Beethoven Year, continues in this way, it will be a fine year". For the second album with double cello concertos by Reicha and Romberg, sr2 wrote: "Music for cello and orchestra is rare, concertos for two cellos and orchestra almost non-existent (...) The well-proportioned sound of the cellos blends perfectly with the attentive orchestra. Deutschlandfunk added: "This recording (...) sets new standards." The third album of this celebrated series continues the musical foray into the Vienna of the early 19th century with extraordinary rarities from Beethoven's contemporaries. Recorded with the WDR Symphony Orchestra and Mirijam Contzen on violin and Herbert Schuch on piano, the recording proves once again that there was far more to hear for Vienna music lovers than piano concertos by Mozart or symphonies by Beethoven. The album presents the Double Concerto for Violin and Piano from 1804 by the young Johann Nepomuk Hummel (1778-1837) who followed the path of his teacher Mozart. Beethoven's teacher Antonio Salieri (1750-1825) wrote the great variations on the Baroque theme "La Follia di Spagna", which Salieri composed in 1815 as an interlude to Handel's Alexander's Feast. And with the Symphony in D Major by Bohemian Jan V�clav Vor�ek (1791-1825), Goebel rounds off this musical rarity program; the only symphony by the composer, who died at an early age, already points the way to the Romantic period in a pioneering manner. "Not to offer new readings of Beethoven's works for the Beethoven Year, but rarities from his environment, is an idea typical of Reinhardt Goebel, the tireless discoverer. (Rondo)"

All of the recordings of Reinhard Goebel's project "Beethoven's World" have received great attention and excellent reviews worldwide. "If the discovery of Beethoven contemporaries, which Goebel has just signed up for the Beethoven Year, continues in this way, it will be a fine year". (Welt am Sonntag). "This recording (...) sets new standards." (Deutschlandfunk). "An outstanding contribution to the Beethoven Year Once again, Reinhard Goebel's Beethoven Project impressively proves that there was more to hear in Vienna at the time than Mozart piano concertos and Beethoven symphonies." (NDR Kultur) are only a few of the excellent reviews.

With the fifth album of the series, Goebel concludes his outstanding musical foray into the Vienna of the early 19th century - and once again with rarities from Beethoven and his contemporaries: He recorded with the Munich Radio Orchestra the first movement of an early violin concerto by Beethoven which has only been handed down in fragments. He also recorded concertos and concert pieces by Anton Wranitzky (1761-1821) and Jan Václav Vo?íšek (1791-1821). In addition, the album presents the world premiere recording of a concert piece for horn and orchestra by Beethoven's childhood friend Antonín Reicha (1770-1836). The recordings were made with excellent soloists: The renowned interpreters Nils Mönkemeyer (viola), Yaara Tal (piano) as well as Sarah Christian (violin), Teresa Schwamm (viola) and Christoph Eß (horn.)

With "New Mozart," conductor Reinhard Goebel, the "tireless discoverer" (Rondo), once again shows what treasures continue to be discovered in the music archives: For his new project "New Mozart" with the Mozarteumorchester Salzburg, he deals with musical treasures that revolve around the music of Wolfgang Amadeus Mozart. The first album already presents a world premiere recording: the orchestral version of the the serenade "Gran Partita" KV 361 by Mozart. The "Gran Partita" for large wind and string ensembles was arranged by the Bavarian composer and Mozart expert Franz Gleissner (1761-1818) into an orchestral version and published in 1800 as "Sinfonia concertante" Op. 91. Also worth discovering on "New Mozart" is the rarely recorded Violin Concerto in E-flat Major K. 268, which was attributed to Mozart. In the meantime, it is certain that the Violin Concerto in E-flat Major was written by an unknown Mozart contemporary, despite many musical parallels to Mozart. Whoever the true author may be, the new recording under Reinhard Goebel with violinist Mirijam Contzen as soloist is in any case a repertoire enrichment, since there is still a lack of attention for the violin concertos of Mozart's contemporaries. Whoever wrote this work during Mozart's lifetime succeeded in creating a concerto that is highly demanding in terms of playing technique and at the same time shines with a cantabile quality that is reminiscent of Mozart from afar.

Conductor Reinhard Goebel is one of the most famous personalities of the German classical music world, an "icon of the Early Music" (S�ddeutsche Zeitung), an "enlightenment in a sea of mediocrity" (New York Times), a world-renowned mediator of historical performance practice and a never-ending source for repertoire treasures. His Sony Classical recording of the Brandenburg Concertos by Bach with the Berlin Baroque Soloists received worldwide best reviews, an Opus Klassik and is considered a new reference. For Beethoven's anniversary year 2020, "Beethoven's World" now appears as the result of a long-standing research and music project in which Reinhard Goebel explores unknown works by Beethoven and his contemporaries, thereby encouraging a relocation of Beethoven. The present recording is the first album of "Beethoven's World" and features the two violin concertos by Franz Joseph Clement (1780-1842). Clement was considered one of the greatest violin virtuosos of his time and Beethoven (1770-1827) dedicated his Violin Concerto to Clement by writing on the score "Concerto par Clemenza pour Clement" and which can be considered in response to Clement's first Violin Concerto of 1805. The similarities between Clement's Violin Concerto No. 1 and Beethoven's Violin Concerto op. 61 are by no means accidental. Rather, they reflect the way in which the two composers could refer directly to one another, tossing balls back and forth with a nod and a wink and sparking creative reactions - a process repeated in reverse in the case of Clement's Second Violin Concerto in D Minor/D Major that was written only a short time afterwards. Both violin concertos by Franz Clement can be heard on this album for the first time - the second violin concerto is a world premiere recording. The works were recorded by Mirijam Contzen with WDR Symphony Orchestra conducted by Reinhard Goebel. Fascinating music that allows a different view of the exceptional composer Beethoven.

The first album of Reinhard Goebel's recording project "Beethoven's World" with violin concertos by Franz Clement (1780-1842) received great attention and excellent reviews worldwide: "If the discovery of Beethoven contemporaries, which Goebel has just signed up for the Beethoven Year, continues, it will be a fine year." (Die Welt). "Reinhard Goebel promises further exciting explorations of Beethoven's world after these two violin concertos by Clement." (SWR2) This recording is the second volume of "Beethoven's World" featuring two rarities by Beethoven contemporaries: Concertos composed for 2 cellos and orchestra are few and far between, and even fewer in the quality shown here: The Concertino op. 72 by Bernhard Romberg (1767-1841) is a world premiere recording. The work is a gigantic tour de force with only the most necessary breathers for the two soloists. The insanely virtuoso Sinfonia Concertante by Antonín Reicha (1770-1836) is full of creative experiments and shows clear references to Beethoven's musical grammar. These double cello concertos were recorded with the cellists Stephan Koncz and Bruno Delepelaire and the German Radio Philharmonic Orchestra Saarbrücken under the direction of Reinhard Goebel. Another work which is worth discovering in Beethoven's circle is the third piece on this album - also a world premiere recording: "Divertisment fu?r Fasching Dienstag" by the composer and Vienna Court Kapellmeister Joseph von Eybler (1765-1846).

Every generation creates its own forms of expression. Often, this happens in abrupt rejection of what has gone before. And not infrequently, the provocative gestures in which a new attitude to life is articulated disappear again just as quickly as they appeared. Such thoughts may have moved Johann Sebastian Bach when, in the early 1740s, his two eldest sons took up the genre of the symphony, which had come from Italy and was accompanied by a novel treatment of the orchestra and compositional technique. Together with their generational peers, they created an independent line of tradition that was later referred to by music historians as the "symphony of the North German school." The fact that the symphony did not remain a short-lived fashion, favored by a handful of youngsters, but rather advanced to become a genre that was soon considered the "acknowledged paramount form of instrumental music", was one of the most significant and momentous musical achievements of the 18th century.

Consistently applied over the last twenty-six years, this unique approach to performance has led to a stupendous degree of recognition and approval on the part of audiences and critics alike. On concert podiums from Tokyo or Seoul to Berlin, from London to New York, from Paris to Shanghai or Taipei as well as in a number of smaller towns - everywhere the Berliner Barock Solisten perform, they have left an indelible musical mark, ensuring that the ranks of their true fans are continually enlarged. Their programs are documented on numerous CD recordings whose exceptional quality has been widely acknowledged by music critics.

French music owes a great deal to dance, from the survival of the Ballet de Cour in the comedies-ballets of Lully, to his tragedies lyriques, these compositions imposed the French choreographic model in Europe. Here is the sequel to Le Bourgeois Gentilhomme, which in 1670 marked the peak of the Comédie-Ballet, when Louis XIV stopped dancing. With his Characters of the Dance in 1720, Rebel offers a work without sung text, the first maturity of the choreographic genre, before Rameau gives it a prominent place in Pygmalion, a sumptuous ballet act. When Gluck adapts his Orphée for Paris, he amplifies the danced parts with exceptional inspiration. Finally, Mozart integrates a vast French-style ballet into his Idoménée: the Chaconne is irresistible... Galvanizing the Royal Opera Orchestra, Reinhard Goebel's sharp baton stretches the arc of a century of French-style dance !